I've just finished reading the latest Restorer Magazine. I noted with great interest the paint article by Richard Brodeur. I am grateful for the charts of his observed paint on various components of C1 Corvettes.
I must take exception however to his conclusion implying the absence of a chassis black-out based on lack of observation. The paint used was supplied in 55 gallon drums and was of very poor petroleum quality. There was a canvas booth over the chassis line and the last operation on the chassis before body drop was the black-out painting of everything that had inspection marks or was shiny. This was, in practice, a hit or miss procedure with the degree of painting not consistent from car to car. The paint was supposed to set up within fifteen minutes and never dried to a hard surface as would enamel.
Paul Vallas alerted me to this procedure some 12 to 15 years ago. The late Phil Hawkins, a St. Louis employee, remembered the chassis black-out booth as did the late George Barlos a long time St. Louis employee, who indicated that body drop employees were always complaining about the wet paint on high humidity
days. David Burroughs, a frequent visitor to the plant remembers seeing chassis black-out painting as does John Hinckley who worked at St. Louis quite a few years. Ken Kyser provided me with specifications for the black-out paint.
Peter Leicastro's book, "Birthplace of Ledgends", shows a 1958, 1959 and 1962 body being dropped on a PERFECTLY BLACK chassis in all three pictures. I have 8 x 10 glossy prints of the same photos (courtesy of Noland Adams) that are revealing under magnification. I spoke with a gentleman in Memphis several years ago who claimed to have held the job in the black-out booth.
This black-out paint soon dulled and I suspect withered away over the years to reveal the inspection marks and component finishes that were observed by
Richard.
I've never seen a correctly restored chasis in straight axle judging.
Dale.
I must take exception however to his conclusion implying the absence of a chassis black-out based on lack of observation. The paint used was supplied in 55 gallon drums and was of very poor petroleum quality. There was a canvas booth over the chassis line and the last operation on the chassis before body drop was the black-out painting of everything that had inspection marks or was shiny. This was, in practice, a hit or miss procedure with the degree of painting not consistent from car to car. The paint was supposed to set up within fifteen minutes and never dried to a hard surface as would enamel.
Paul Vallas alerted me to this procedure some 12 to 15 years ago. The late Phil Hawkins, a St. Louis employee, remembered the chassis black-out booth as did the late George Barlos a long time St. Louis employee, who indicated that body drop employees were always complaining about the wet paint on high humidity
days. David Burroughs, a frequent visitor to the plant remembers seeing chassis black-out painting as does John Hinckley who worked at St. Louis quite a few years. Ken Kyser provided me with specifications for the black-out paint.
Peter Leicastro's book, "Birthplace of Ledgends", shows a 1958, 1959 and 1962 body being dropped on a PERFECTLY BLACK chassis in all three pictures. I have 8 x 10 glossy prints of the same photos (courtesy of Noland Adams) that are revealing under magnification. I spoke with a gentleman in Memphis several years ago who claimed to have held the job in the black-out booth.
This black-out paint soon dulled and I suspect withered away over the years to reveal the inspection marks and component finishes that were observed by
Richard.
I've never seen a correctly restored chasis in straight axle judging.
Dale.
Comment